The practices of re-combination and repetition of pre-existent material that we call remixing, nowadays detached from its musical roots, combined with other apropriative methods, and expanded to image, text and to the combinatory possibilities across all media, is defined, in generic terms, by the creative production based on the actions of cut, copy and paste[1].

Remix carries within itself values about intellectual property and ethics related to the exchange and sharing of content, experience and expertise. Remixing implies collecting, re-contextualizing by re-combining data and its meanings. In performance, the remixed combination becoms momentariry and ephemeral.

In this text I will trace a parallel between the actions of remixing content/data and actions of hacking technology (hardware) in a way that expresses recombination as a creative process that brings the new to existence. This text is part of a series of ongoing written exercises on live audiovisual performative practices at their intersection with other art practices and other areas of knowledge.